Venetian School. Pupil of Alvise Vivarini.
PORTRAIT OF ANDREA ODONI Half length, full face, in a fur pelisse, holding a statuette in his right hand. Antique torsos and statues are behind him and about the room; coins, books, etc., on the table.
Signed and dated 1527.
Formerly attributed to Correggio as a portrait of Bacio Bandinelli. Odoni was an enthusiastic admirer of art in Venice, and had lately inherited the collection of antiquities with which he is here surrounded.
” There is hardly a masterpiece of this time more deserving of praise than this half-length, for warm and fluid touch, for transparency of colour, and freedom of handling.” (C. and C.)
FLORENCE, PITTI GALLERY
THE THREE AGES OF MAN Bust length. In the centre, facing us, a boy in a flat cap looking down at a sheet of music held in his left hand. To the right a youngish man with slight beard and moustache, the head in profile, also looking down at the music, the left hand raised with the forefinger extended. On the left an old man, baldheaded and bearded, the head nearly in profile, but turned slightly towards us.
” Handled with Giorgionesque skill, and only less powerful than other works of this time because seriously damaged by restoring.” (C. and C.)
LUINI (Bernardino), (?) 1475-1532.
School of Milan. Imitator of Leonardo, to whom many of his pictures have been attributed.
THE DECOLLATION OF ST. JOHN THE BAPTIST Half-length figures. To the right the executioner, turned slightly to the left, holds the head of the Baptist by the hair over a dish held out by Herodias. She stands facing us, but turning towards a servant farther to the left. She has fair hair falling in curls over her shoulders.
Formerly attributed to Leonardo da Vinci.
THE MADONNA OF THE ROSES Half length. The Virgin, seated facing us, with the Child reclining on her knees, also facing us, as He stretches out His right arm over a vase in theleft-hand corner. Thebackground is a square trellis covered with roses.